Word: broadway
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What ever happened to David Mamet? It may seem an odd question to ask about a playwright who is so constantly with us. No fewer than three of his plays--American Buffalo, Speed-the-Plow and Oleanna--have been revived on Broadway in just the past year or so. His terse, fragmented, elliptical dialogue; his rogue's gallery of hustlers, con men and losers; his twisty, shaggy-dog plots; his cynical take on the American dream--Mamet's style and themes have seeped into nearly every pore of American theater. (Non-American theater too: Martin McDonagh, whose Irish black comedies...
...perhaps his scalding one-act Edmond (1982)--can fairly be called masterpieces. What's more, Mamet, 62, has been on a steady downhill slide for nearly two decades, bottoming out with his labored period piece Boston Marriage, in 1999, and his brutally unfunny political farce November, which landed on Broadway two years...
None of which prevented his new play, Race--with its blunt title promising a no-holds-barred look at Topic A of the Obama era--from becoming, sight unseen, the dramatic event of the Broadway season. The fact that, once it was seen, the play turned out to be a dud was not especially surprising. But it was cause for a hard look at whether the playwright's own race has finally run its course...
...Rome-based writer's latest project is a would-be Broadway musical about the life and times of the colorful and controversial leader. The title, Burlesquoni, is easy, but Martera has been stuck trying to figure out how the show is supposed...
...could easily turn self-reverential - but it spawned some fascinating films, including Paul Mazursky's Alex in Wonderland, Woody Allen's Stardust Memories and above all Bob Fosse's All That Jazz, a collision of song and dance, skyrocketing neurosis and open-heart surgery, energy and entropy. Nine hit Broadway three years later, with Raul Julia declaiming Maury Yeston's songs in Tommy Tune's black-and-white, beyond-chic production...